An Artist-Scholar Finds Beauty from Ashes: Brazilian Artist Duda Penteado

2014 ◽  
Vol 18 (1-2) ◽  
pp. 222-238
Author(s):  
J. Casale Taylor Basker
Keyword(s):  
Twentieth Century ◽  
Religious Experience ◽  
Meaning In Life ◽  
Theoretical Justification ◽  
The Public ◽  
The World ◽  
Creative Art ◽  
Paulo Friere ◽  
Artistic Image ◽  
Modern Artists

‭Duda Penteado’s Beauty for Ashes Project addresses the dilemma of contemporary artists finding their own voice after the art movements of the twentieth century. His background as a Brazilian and a believing Christian gives him a unique response. He appropriates and transforms the work of great modern artists without a need for elaborate theoretical justification. Much influenced by Paulo Friere and his belief in the significance of art for social change, Duda is involved in art projects with students and the public around the world. In these projects, ideas are developed, and creative art installations are built that he hopes will inspire people to search deeper for meaning in life. He believes that faith is not a process of convincing but an encounter. Curiosity must be sparked to begin the process for each individual to make the journey. Duda is convinced that art holds a significant role in society and that the artistic image expresses the essence of society. His work represents a genre of artwork derived from ethnic tradition and religious experience. Duda believes that great art comes from within and is the true language of the soul. To create art is an act of faith in itself.‬

Regarding Electronic Music

Tempo ◽  
1966 ◽  
pp. 2-11 ◽  
Author(s):  
Aurelio de la Vega
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
The Other ◽  
Musical Composition ◽  
Electronic Medium ◽  
The Public ◽  
The World ◽  
Twentieth Century Music ◽  
Long Time

For a long time now—long when we consider the quick, changing time-scale of our days—electronic music has been with us. The public at large usually remains cold, confused or merely dazed when faced with any new aesthetic experience. Critics, musicologists and the like still seem, as usual, to be unable to predict what will happen to this peculiar, mysterious and often anathematized way of handling musical composition, while many traditionally-minded composers consider it a degrading destruction of the art of music. On the other hand, the electronic medium seems to attract a long, motley caravan of young, inexperienced and often unprepared ‘beatnik type’ self-titled composers, who believe that the world began yesterday and that you only have to push buttons and prepare IBM cards to obtain magical results. Probably not since Schoenberg proclaimed the equal value of the twelve semitones of our sacred but by now obsolete tempered scale has twentieth-century music been faced with such a bewilderment.

scholarly journals Hannah Arendt's Eichmann Controversy as Destabilizing Transatlantic Text

AJS Review ◽  
2013 ◽  
Vol 37 (1) ◽  
pp. 115-134
Author(s):  
Adam J. Sacks
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Turning Point ◽  
Public Intellectuals ◽  
Pivot Point ◽  
The Public ◽  
The Holocaust ◽  
Judaic Studies ◽  
The World ◽  
Critical Turning Point

The controversy surrounding Hannah Arendt's reportage on the Eichmann trial in Jerusalem and the subsequent book cannot be underestimated. For Arendt personally, the trial was the decisive event in the second half of her life and amounted to nothing less than a second exile. On the world stage, it marked not only a critical turning point in international consciousness of the Holocaust, but also both initiated and reflected a critical shift in intra-Jewish representations and expression. Arendt's book could in fact be considered as a master text for Judaic studies in the second half of the twentieth century. To mention two of many possible consequences, the controversy may be seen as a pivot point from which the culture of the public intellectuals of New York argued itself out of the spotlight, as well as a primary catalyst for two of the most significant works on the Holocaust penned by women: Lucy Davidowicz'sThe War against the Jews(1975) and Leni Yahil'sThe Holocaust(1987).

scholarly journals Anthropic turn to modernity

2018 ◽  
Vol 20 (91) ◽  
pp. 106-110
Author(s):  
O. V. Haletskyy
Keyword(s):  
Twentieth Century ◽  
Human Rights ◽  
Information Society ◽  
Theoretical Justification ◽  
New Science ◽  
Cultural Paradigm ◽  
New Process ◽  
The World ◽  
The Subject ◽  
Totalitarian Regimes

The anthropic turn of philosophy appears as a theoretical justification of the transition in the twentieth century from the state-totalitarian regimes to the globalization-information society, demo-liberal regimes and human rights. Since the middle of the twentieth century through so-called new science arises a new process-creative-centric image of the world in what the development of the anthroponomospherical tendency became the so-called socio-cultural paradigm, what is an increase in the conscious-spiritual factors of development. In the justifications of the anthropic principle of Carter, world-formation is concentrated in man as a personified creation of all cosmic, biological and social-spiritual forces, a continuation and continuater of world creation. The idea of a man as a cosmic being, but capable of his reconstruction, is further developed in a wide anthropocosmism. In the special anthropophilosophy of the first half of the twentieth century. The subject of reflection is the explanation and disclosure of the phenomenological meaning and the essence of human existence, the essence of which is that man is an animal, but is able to transcend himself, due to the spirit.

Problems of the interaction of reality and fiction in Russian literature in the 20s of the XX century

2021 ◽  
pp. 119-124
Author(s):  
Jyldyz K. Bakashova ◽  
Keyword(s):  
Twentieth Century ◽  
Russian Literature ◽  
Actual Problem ◽  
Artistic Creation ◽  
Works Of Art ◽  
The World ◽  
The Aesthetic ◽  
Creative Understanding ◽  
Artistic Image

The article is devoted to one of the important problems of literature at the end of the nineteenth and the first half of the twentieth century — documentary artistic creation. Writers, and later filmmakers, introduce real materials into their works that create a historical narration. Writers of different creative orientations are united in their attitude to the documentary trend. The article examines the actual problem of using prototypes by Russian writers when they create works of art. The views of Russian writers on the problem of interaction between reality and fiction in their work are considered on the example of the statements of L.N. Tolstoy, N.K. Hudzia, F.M. Dostoevsky, N.V. Gogol, V.G. Belinsky, A. Serafimovich, A. Todorsky, A. Blok. Russian writers believed that artistic truth is inseparable from the truth of life, real reality is the basis that feeds art. But no less significant is the creative understanding of the facts of life. The path from the prototype to the artistic image created by the writer in the work is closely connected with the figurative vision of the world, with generalization and individualization, with the aesthetic comprehension of real facts, there is a dialectical connection between art and life. Adequate reconstruction of events presupposes their aesthetic comprehension by the writer.

Environmental aesthetics

2018 ◽  
Author(s):  
Allen Carlson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Aesthetic Appreciation ◽  
Environmental Aesthetics ◽  
Large Measure ◽  
The Public ◽  
The Core ◽  
The World ◽  
The Aesthetic

Environmental aesthetics is one of the major new areas of aesthetics to have emerged in the last part of the twentieth century. It focuses on philosophical issues concerning appreciation of the world at large as it is constituted not simply by particular objects but also by environments themselves. In this way environmental aesthetics goes beyond the appreciation of art to the aesthetic appreciation of both natural and human environments. Its development has been influenced by eighteenth-century landscape aesthetics as well as by two recent factors: the exclusive focus of twentieth-century philosophical aesthetics on art, and the public concern for the aesthetic condition of environments that developed in the second half of that century. Both factors broadened the scope of environmental aesthetics beyond that of traditional aesthetics, and both helped to set the central philosophical issue of the field, which is due in large measure to the differences between the nature of the object of appreciation of environmental aesthetics, the world at large and the nature of art. These differences are so marked that environmental aesthetics must begin with basic questions, such as ‘what’ and ‘how’ to appreciate. These questions have generated a number of different philosophical positions, two of which are the engagement and the cognitive approaches. The first holds that appreciators must transcend traditional dichotomies, such as subject/object, and diminish the distance between themselves and objects of appreciation, aiming at multi-sensory immersion of the former within the latter. By contrast, the second contends that appreciation must be guided by the nature of objects of appreciation and that knowledge about their origins, types and properties is necessary for serious, appropriate aesthetic appreciation. Each approach has certain strengths and weaknesses. However, although different in emphasis, they are not in direct conflict. When conjoined, they advocate bringing together feeling and knowing, which is the core of serious aesthetic experience and which, when achieved in aesthetic appreciation of different environments of the world at large, shows just how rewarding such appreciation can be.

Corporate Starchitects and Unique Icons

2017 ◽  
Author(s):  
Leslie Sklair
Keyword(s):  
Twentieth Century ◽  
Le Corbusier ◽  
Frank Lloyd Wright ◽  
Leon Battista Alberti ◽  
Global System ◽  
The Public ◽  
The World ◽  
Aesthetic Practice ◽  
Cultural Historian ◽  
Institutional Legacies

Although some find it unpleasant and others find it flippant, the term ‘starchitect’ is theoretically useful for the sociology of architecture. It connects the world of the architect with the world of celebrity, and it con­nects architecture as an esoteric aesthetic practice with architecture as an industry in the public eye. Over the last few years, the term has become well established in the mass media and in trade publications, and it is also, slowly, starting to be taken seriously by scholars in and around architecture (e.g., McNeill 2009, Ponzini and Nastasi 2011; Knox 2012; Gravari-Barbas and Renard-Delautre 2015). The quest for fame, of course, is not new. Leon Battista Alberti, universal man, prodigious self-promoter of the early renaissance, and still an architectural notable, wrote an allegorical play on fame in the 1440s, recently reprinted (Alberti 1987). Neither Frank Lloyd Wright (1869–1959) nor Le Corbusier (1887–1965, Corb) shunned public­ity; both were what we would now call celebrities. Their rivalry is well documented, mostly in arguments around different conceptions of modernism—they never met. Noting that Wright called the Villa Savoye, one of Corb’s most celebrated buildings, ‘a box on stilts’, the cultural historian Nicholas Cox Weber, in his life of Corb, comments: ‘Today, it is an icon of twentieth-century design and has spawned countless imitations all over the world’ (2008: 288; see also Etlin 1994). Wright and Corb died around the time capitalist globalization was beginning to establish itself as a truly global system, and their own lives contained significant measures of socially produced iconicity. Although these terms were not used about them during their lifetimes, they can be considered proto-global and proto-iconic architects, by which I mean that the terms ‘global’ and ‘iconic’ are fruitfully employed today about them and their surviving architectural works. So, before considering the starchitects of our time, it is instructive first of all to delve briefly into the careers of these two most iconic architects of the first half of the 20th century. Wright and Corb both enjoy institutional legacies and continue to have plenty of enthusiasts.

Regietheater – The Big Challenge for the Opera of our Times

2021 ◽  
Vol 66 (2) ◽  
pp. 179-192
Author(s):  
Cristina Radu-Giurgiu
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
21St Century ◽  
The Public ◽  
Social Patterns ◽  
The World

"In a postmodern world where creative, aesthetic and social patterns are constantly reshaped or radically changed – a conservative, traditionalist view of lyrical performance can easily be categorized by some contemporary audiences as outdated and irrelevant. It is still possible that the opera, in its old costumes, to communicate any more interesting content – to modern man? This has been the dilemma of many opera directors who in the twentieth century changed their approach and often produced shocking performances for the public. The question remains open to the creators of the 21st century, the world of opera receiving more and more versions of shows that challenges the public with provocative solutions. Keywords: Regietheater, Opera, modern stages, 20th century "

Environmental aesthetics

2018 ◽  
Author(s):  
Allen Carlson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Aesthetic Appreciation ◽  
Environmental Aesthetics ◽  
Large Measure ◽  
The Public ◽  
The Core ◽  
The World ◽  
The Aesthetic

Environmental aesthetics is one of the major new areas of aesthetics to have emerged in the last part of the twentieth century. It focuses on philosophical issues concerning appreciation of the world at large as it is constituted not simply by particular objects but also by environments themselves. In this way environmental aesthetics goes beyond the appreciation of art to the aesthetic appreciation of both natural and human environments. The development of environmental aesthetics has been influenced by eighteenth-century landscape aesthetics as well as by two recent factors: the exclusive focus of twentieth-century philosophical aesthetics on art and the public concern for the aesthetic condition of environments that developed in the second half of that century. Both factors have broadened the scope of environmental aesthetics beyond that of traditional aesthetics, and both have helped to set the central philosophical issues of the field, which are due in large measure to the differences between the nature of the object of appreciation of environmental aesthetics, the world at large, and the nature of art. These differences are so marked that environmental aesthetics must begin with most basic questions, such as ‘what’ and ‘how’ to appreciate. These questions have generated a number of different philosophical positions, which are typically classified as either noncognitive or cognitive approaches. Positions of the first type stress various kinds of emotional and feeling-related states and responses, which are taken to be the more noncognitive dimensions of aesthetic experience. By contrast, positions of the second type contend that appreciation must be guided by the nature of objects of appreciation and thus that knowledge about their origins, types and properties is necessary for serious, appropriate aesthetic appreciation. Each of these two kinds of approach has certain strengths and weaknesses. However, recent work in environmental aesthetics, especially in the aesthetics of human environments and everyday life, demonstrates that although different in emphasis, they are not in direct conflict. When conjoined, they advocate bringing together feeling and knowing, which is the core of serious aesthetic experience and which, when achieved in aesthetic appreciation of different environments of the world at large, demonstrates just how rewarding such appreciation can be.

Dearest Lenny

2019 ◽  
Author(s):  
Mari Yoshihara
Keyword(s):  
United States ◽  
Twentieth Century ◽  
The United States ◽  
The State ◽  
Special Relationship ◽  
World Culture ◽  
Leonard Bernstein ◽  
The Public ◽  
The World

Buried in the massive archives of Leonard Bernstein are many letters to the maestro from two unknown Japanese individuals: Kazuko Amano, who became a loyal fan of Bernstein in 1947, and Kunihiko Hashimoto, who fell deeply in love with Bernstein in 1979 and later came to be professionally involved in the maestro’s work. Using their passionate letters to trace their special relationship with Bernstein, Dearest Lenny explores how Bernstein, a quintessential American in so many ways, became the world maestro who reached and communicated so powerfully across borders. It follows Bernstein’s transformation from an American icon to the world maestro against the backdrop of the changing geopolitics and economy during the second half of the twentieth century. During this period, Japan’s place in the world and its relationship to the United States changed dramatically, which also shaped Bernstein’s relationship to the world and to the two individuals in important ways. In tracing Bernstein’s worldwide reach through the decades, Dearest Lenny looks at many forms of relationships—not only between Bernstein and the two individuals but also between art and life, the United States and the world, culture and commerce, artists and the state, the private and the public, conventions and transgressions, dreams and realities. Amano’s and Hashimoto’s stories provide a unique window into these relationships, as well as the deep, intimate bond each of them built with their beloved maestro.

Bobs and the “Character of Our Citizenship”

2019 ◽  
Vol 23 (2) ◽  
pp. 42-63
Author(s):  
Leah Payne
Keyword(s):  
Twentieth Century ◽  
Middle Class ◽  
Social Order ◽  
Public Life ◽  
First Century ◽  
The Public ◽  
White Middle Class ◽  
The World ◽  
Late Nineteenth ◽  
Twenty First Century

Many view the twenty-first-century white Pentecostal-charismatic rejection of feminism, and enthusiasm for self-professed harasser of women, Donald J. Trump, as a departure from the movement’s late nineteenth- and early twentieth-century origins wherein many Pentecostal-charismatic women were welcomed into the public office of the ministry. Early Pentecostal writings, however, demonstrate that twenty-first-century white Pentecostal orientations toward women in public life are based in the movement’s early theological notions that women must uphold the American home, “rightly” ordered according to traditionally conservative, white, middle-class norms. An America wherein women work and minister primarily in the domicile, according to early white Pentecostals, would be a powerful instrument of God in the world. Thus, no matter how transgressive they may have appeared when it came to women speaking from the pulpit, for the most part, white Pentecostals sought to conserve the traditional social order of the home.

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